DIAGNOSIS MURDER
"Obsession" - Part Two
TEASER
FADE IN:
1 STOCK MONTAGE - VARIOUS 1
As we see NEWS FOOTAGE and STOCK FOOTAGE of TREMENDOUS
EXPLOSIONS, FIREFIGHTERS battling BUILDINGS ABLAZE,
INVESTIGATORS going through BURNT RUBBLE, and CURLS OF SMOKE
rising over the city, we HEAR snatches of VARIOUS NEWS REPORTS
and TALK SHOWS, as if we were scanning the radio dial in our
car.
Where appropriate, we also see SHOTS of SHARON ELLISON, NEIL
BURNSIDE, and "archival footage" of LEWIS SWEENEY, all drawn
from Part One.
REPORTER #1
...the spate of random bombings
that began three months ago after
the execution of accused Sunny
View bomber Lewis Sweeney
continues unabated, the death toll
rising to 61...
SHRILL CITIZEN #1
I'm moving to Kansas. They don't
have mad bombers in Kansas.
PUNDIT #1
The justice system failed, and an
innocent man was executed.
PUNDIT #2
So why did the bomber stop while
Lewis Sweeney was in prison?
PUNDIT #1
To watch our justice system fail.
Those aren't explosions we're
hearing ... it's the real Sunny
View Bomber laughing at us.
REPORTER #2
...with the election just two
weeks away, Assistant District
Attorney Sharon Ellison has
squeaked ahead of incumbent Neil
Burnside in the hotly contested
race for the DA's seat...
SHRILL CITIZEN #2
Bring in the national guard!
Declare martial law!
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 2.
1 CONTINUED: 1
REPORTER #1
Every fourth day, another bomb
explodes somewhere in the
city...that's the only known
pattern to his terror... his
targets cut across all ethnic and
social lines... a car wash in
Compton, a boutique in Beverly
Hills, a picnic table in Griffith
Park... where will he strike next?
SHRILL CITIZEN #3
There is no bomber. It's an
operation by the United Nations
shadow government to foment
anarchy and undermine our country.
CARTER
The blame for this bloodshed rests
solely on the shoulders of Mark
Sloan-
We DISSOLVE FROM the MONTAGE into
2 INT. RADIO STATION - DAY 2
To PAN AROUND Carter Sweeney in a darkened studio, on the air.
CARTER
--the disgraced doctor and former
police consultant who railroaded
my father into prison... and,
ultimately, to his death by lethal
injection.
And we CLOSE IN ON THE MICROPHONE, pushing in until it blurs
into BLACKNESS, and we PULL BACK from
3 TIGHT ON A SPEAKER 3
That belongs to a RADIO on a shelf in a DARKENED ROOM. We
CONTINUE to PULL BACK, traveling through piles of newspaper
clippings about the bomber, police reports, fast food cartons,
scattered files, photos of burnt buildings...
CARTER'S VOICE
It was his unforgiveable
arrogance, combined with the naked
political ambition of prosecutor
Neil Burnside, that left the real
bomber free to carry on his reign
of terror.
...until we find, sitting amidst it all:
"Obsession" Part Two 2/10/98 (GOLDENROD) 3.
4 MARK SLOAN 4
His face unshaven, his hair askew, his clothes wrinkled, eyes
burning with rage and misery.
CARTER'S VOICE
I lost my father. But this city
has lost so much more. None of us
can rest until the bomber, and
Mark Sloan, pay for their heinous
crimes.
And on Mark's hard stare, we DISSOLVE TO:
5 A BUILDING - NIGHT (STOCK) 5
Just seconds before it EXPLODES! And on the flames filling the
screen, we FADE OUT.
END OF TEASER
"Obsession" Part Two 2/10/98 (GOLDENROD) 4.
ACT ONE
FADE IN:
6 EXT. BEACH HOUSE - ESTABLISHING - DAY 6
JESSE'S VOICE
Hello? Any one home?
7 INT. BEACH HOUSE - DAY 7
JESSE, carrying coffee and donuts, crosses the entry into the
shadowed living room. Boxes and papers are everywhere; a huge
corkboard is cluttered with photographs of bomb sites,
newspaper clippings, and a Thomas Brothers-esque GRID MAP of
LOS ANGELES, which is COVERED WITH RED PINS marking BOMB
SITES. We find Mark, as unkempt as we last saw him, hunched
over papers and reports.
MARK
Over here, Jesse.
JESSE
I was on my way to the hospital,
thought you could use a sugar fix.
MARK
Thanks, but I'm not hungry.
Jesse looks for an uncluttered surface to put the stuff down
on. He can't find one, so he just sticks it all precariously
on a stack of files.
MARK
There was another bombing last
night.
JESSE
I heard.
MARK
A department store downtown. The
night watchman was killed.
JESSE
I'll ask Jan Yanihiro to sneak me
a look at the autopsy report.
Mark shouts out suddenly, startling Jesse.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 5.
7 CONTINUED: 7
MARK
No!
(calmer)
You're lucky to have your job back
at all... and I don't want you
risking hers.
JESSE
She's a friend, Mark. We won't get
caught.
MARK
Amanda lost her job and moved to
Virginia, Steve's out of work, and
you're on disciplinary
probation -- all because you were
trying to help me. I don't want
Jan Yanihiro on my conscience, too.
JESSE
You're not going to catch this guy
on just what you get from the
media.
MARK
It doesn't matter anyway. The key
to stopping this nightmare is in
the past...I have to solve the
original Sunny View bombings first.
JESSE
But you did. You caught Lewis
Sweeney.
(then, worried)
He was the Sunny View Bomber,
right?
MARK
I caught the right man, but I
didn't solve the case. I never
figured out why he was doing it.
Once I do, I can catch this one.
JESSE
If it's Carter Sweeney, he's doing
it to avenge his father.
MARK
Or picking up where his father
left off six years ago.
(then)
I need another look at the old
evidence.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 6.
7 CONTINUED: (2) 7
JESSE
That's not going to be easy. Steve
can't help you now. And Sharon
Ellison confiscated all of
Amanda's files.
Mark smiles to himself and heads for the phone.
MARK
How many spare keys did Amanda
have for her car?
JESSE
One in her desk. One in her locker
in case she couldn't get into her
desk. One in your locker in case
she couldn't get into her locker.
One in--
Mark interrupts and starts to dial.
MARK
If that's the way she was with her
car key, how do you think she was
with her files?
8 EXT. RUSTIC HOUSE - DAY (STOCK) 8
Snow blankets the tall woods around this warm, cozy home.
9 INT. RUSTIC HOUSE - DAY 9
Amanda reclines on a couch, glancing over a file folder at CJ,
who lies on the Lego-littered floor with Wagner, who positions
toy soldiers around a Lego-fort.
WAGNER
We position our snipers here and
here, which keeps the bad guy
soldiers from using the brush as
cover, and we're pretty much
impenetrable.
CJ leans over and whispers something in Wagner's ear.
WAGNER
Well, I don't know. I think you'll
have to ask your mommy if I can
stay for dinner.
CJ
Mommy? Please?
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 7.
9 CONTINUED: 9
AMANDA
I don't know. It depends on what
Agent Wagner feels like cooking.
WAGNER
Given what's usually in your
refrigerator, I was thinking Fruit
Loops.
CJ
Fruit Loops!
That's when the phone rings.
AMANDA
If I ever figure out which one of
you is teaching the other these
appalling dietary habits...
(grabs the phone)
Amanda Bentley.
(then)
Mark! How are you?
INTERCUT WITH:
10 INT. BEACH HOUSE - DAY 10
Mark smiles, pleased to hear Amanda's voice again.
MARK
Not too bad. I'm spending a lot of
time in the garden. How about you?
AMANDA
Well, my garden's under about six
feet of snow, but aside from that,
I've never been happier.
MARK
The job's working out?
Amanda casts a warm glance at CJ and Wagner, who are now
staging the war they set up.
AMANDA
Everything's working out. Except
I miss you guys.
MARK
We miss you, too.
(then)
Listen, Amanda, I need a favor.
AMANDA
Anything, you know that.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 8.
10 CONTINUED: 10
MARK
I need all your files on the Sunny
View bombings and all the original
evidence in the case, including
logs and photographs of everything
recovered from Lewis Sweeney's
house and van when he was arrested.
That takes her aback. She glances over to make sure Wagner's
not listening, then turns away, speaking quietly.
AMANDA
I'll have to arrange a place for
CJ to stay, so it'll probably be
tomorrow morning before I can get
a flight.
MARK
Amanda, think this through before
you agree. You lost one career
because of me. I don't want you to
do this if it'll mean your new one.
AMANDA
I'll see you tomorrow.
She hangs up and turns to find that Wagner's standing next to
her.
WAGNER
Call him back. Tell him you can't
do it.
AMANDA
I'm going.
WAGNER
You've only been at the Bureau
three months. You're risking your
career.
AMANDA
If they won't give me the vacation
time, I'll call in sick. Or I'll --
He holds up a hand to stop her.
WAGNER
I've been there eight years. I'm
harder to fire.
(off her look)
I'll go.
Amanda is stunned.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 9.
10 CONTINUED: (2) 10
AMANDA
But why would you do --
WAGNER
For you. For Mark. Maybe even
for myself.
(off her look)
WAGNER
You owe me dinner when I get back.
Fruit Loops won't cut it.
(then)
Captain Crunch is my favorite
dinner entree.
AMANDA
No problem. I'm great with seafood.
And on their shared smile, we DISSOLVE TO:
11 INT. BEACH HOUSE - DAY 11
Mark, Steve, Jesse, and Wagner go through the fresh files and
photos.
JESSE
I can't believe Amanda kept copies
of all her files.
WAGNER
Amanda still has her high school
notebooks. Grocery lists from
1987. And everything else that's
ever passed through her hands.
(then)
I have the backache to prove it.
MARK
The forensic details of the
bombings, past and present, are
identical.
(then)
Except for this.
Mark holds up two photos, each of a scorched fragment of
carved wood. The carvings look virtually identical.
MARK
The original boxes were rife with
minor irregularities in the
carvings.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 10.
11 CONTINUED: 11
WAGNER
(wryly)
That's part of the charm of hand-
made work. Makes it unique.
MARK
Look at the new carvings. Same
design and nearly perfect --
there's just one slight flaw in
the workmanship that's repeated in
all the fragments recovered from
the new bombings.
Wagner examines the photo under a magnifying glass.
WAGNER
The curse of mass production.
Whoever our new bomber is, he
isn't interested in craftsmanship.
Mark nods in agreement.
MARK
Lewis Sweeney made his boxes by
hand.
Our new bomber is using power
tools - and either a router or a
bit with a nick in it.
WAGNER
That's interesting, but it doesn't
bring us any closer to discovering
his pattern... and we have one day
until he strikes again.
Steve studies the crush of RED PINS covering the map of Los
Angeles that's on the bulletin board.
STEVE
What do a diner, a gas station, a
couple homes, a car dealership, a
park bench, a statuary store, and
a bakery have in common?
JESSE
They're all places in Los Angeles.
WAGNER
That's a big help.
Mark looks up from the papers he's examining... hit with a
sudden, and powerful revelation.
MARK
Maybe it is...
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 11.
11 CONTINUED: (2) 11
Mark bolts up and rushes to the map, squinting at the RED
PINS. Wagner shoots Jesse a look. Jesse shrugs.
JESSE
I'm always doing that.
Mark whips his head around.
MARK
Where are the photos of the
evidence collected from Lewis
Sweeney's van?
STEVE
Right here.
Steve hands him a stack of photos. Mark hurriedly sorts
through them, while Steve reads aloud from a list.
STEVE
Gum wrappers. Flares. Map book. A
couple of Doobie Brothers tapes.
Sunglasses. Auto club card.
(then)
Dynamite, blasting caps, timers,
a thousand flat-head brass screws
and two bombs in hand carved
wooden boxes.
(then)
The stuff everyone throws on the
back seat.
Mark keeps one photo from the stack and holds it up.
MARK
He had a Morris Brothers map.
JESSE
So do I.
WAGNER
Me, too.
Mark turns back to the map on the bulletin board, a man
possessed.
MARK
But I'll bet both of yours, like
this one, have a recent copyright.
The one Lewis Sweeney had in his
car was much older.
(to Wagner)
Where's Sweeney's map?
Wagner goes to a box and pulls out the evidence bag containing
the map.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 12.
11 CONTINUED: (3) 11
Mark snatches it from him and puts it up on the board beside
the new one.
MARK
(to Jesse)
Hand me that box of pins.
(to Steve)
Give me the location of every
bombing site on our map.
Steve takes a deep breath and starts in:
STEVE
D-3, corner of Ventura and Haskel.
E-7, Wilshire and Canon. J-6,
Sepulveda basin, just below the
freeway...
And as Steve calls out the locations, Mark puts a matching pin
in Sweeney's map.
STEVE
B-2, Topanga and PCH. D-5,
Griffith Park...
And as they continue, and Wagner watches, we DISSOLVE TO:
12 SWEENEY'S MAP 12
Now covered in as many red pins as Mark's map. Now Mark has
two maps that are just a jumble of pins.
13 INT. BEACH HOUSE - DAY 13
As Mark stands back and studies the two maps.
MARK
There you have it.
JESSE
Two maps full of pins.
MARK
Oh, much more than that.
Mark takes a magnifying glass and reads something off
Sweeney's map.
MARK
The copyright on this map is 1951.
The Morris Brothers have done
twenty new editions since then.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 13.
13 CONTINUED: 13
STEVE
Makes sense. Cities change. One
subdivision can add fifty new
streets.
Mark studies the maps, motions between the two of them.
MARK
Twenty years ago, Palmdale was
desert scrub. Thirty years ago,
Century City didn't exist. Forty
years ago, most of the San
Fernando Valley was farm land.
WAGNER
So the bomber is hitting what was
here in 1951... and those targets
are the pattern.
MARK
No.
WAGNER
Then I don't see the point.
MARK
The grids over the map have
changed. More letters, more
numbers. The two maps don't
exactly coincide. That's why we
didn't see it before.
WAGNER
(frustrated)
See what!?
Mark turns around and smiles.
MARK
How often do the bombings occur?
JESSE
Every four days.
MARK
When Lewis Sweeney was a child,
the city condemned his father's
woodshop for construction of the
Imperial Freeway. Lewis' father
held off the city bulldozers four
days...and then he was killed.
(then)
You know what his name was?
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 14.
13 CONTINUED: (2) 13
WAGNER
(impatient)
For God's sake, Mark...
Mark takes out a MAGIC MARKER, steps up to Sweeney's map, and
begins to "connect" the dots... until the unintelligible
jumble of pins nearly spells the words REGAN SWEENEY.
MARK
Regan Sweeney.
Steve, Wagner and Jesse stare at the map, stunned.
WAGNER
The bastard was branding the city
with his father's name.
JESSE
That's why the targets seem so
random. They were just dots on the
map. Sweeney didn't care what was
actually at that spot.
STEVE
There's another pattern. There
are three grid squares between
targets, and each target is always
in the center of the grid.
MARK
And if you look at the sequence of
bombings, it looks like both
bombers alternate targets between
the first and last name.
Wagner steps close to the map.
WAGNER
He's almost done. There are just
two more spots to fill.
Wagner taps one of the blank spots, which will complete the
"Y" in SWEENEY.
WAGNER
If you're right, whatever is at
the center of the 2300 block of
Figueroa will be rubble tomorrow.
MARK
We can't let that happen.
And on Wagner's grim look, we CUT TO:
"Obsession" Part Two 2/10/98 (GOLDENROD) 15.
14 INT. BURNSIDE'S OFFICE - DAY 14
Wagner stands in front of a map on Burnside's wall, which also
tracks the bomber's targets with a jumble of PINS.
WAGNER
The Sunny View Bomber was taking
revenge against the city that
killed his father. The pattern was
right in our faces: connect the
dots, it spells Regan Sweeney.
Burnside rises from behind his desk and cooly appraises both
Wagner and the map.
BURNSIDE
Connecting the dots. Why didn't I
think of that? It seems so simple,
so obvious.
(then)
You made this discovery all by
yourself?
WAGNER
I had some help.
BURNSIDE
Really? I guess you tapped the
brilliant minds at the Quantico
think-tank.
(off Wagner's look)
You stared at the map until your
eyes were bleary and the image
appeared through your tears.
(off Wagner's look)
Oh, I know - it came to you in a
bowl of alphabet soup.
Burnside is toying with him, and Wagner knows it.
WAGNER
Mark Sloan figured it out.
Burnside gets in Wagner's face.
BURNSIDE
I thought you were a smart man.
(then)
Or maybe you're just determined to
end your career and mine.
WAGNER
I'm determined to solve this case.
BURNSIDE
Bring in psychics. Study tarot
cards.
(more)
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 16.
14 CONTINUED: 14
BURNSIDE (cont'd)
Look for clues in old "Star Trek"
episodes. I don't care. Just stay
the hell away from Mark Sloan.
WAGNER
No one knows this case as well as
he does.
BURNSIDE
We've been burned enough by his
wild theories and idiotic
deductions.
WAGNER
Sloan's theory makes sense to me.
(points to map)
I see the pattern and so will you
if you'll open your eyes.
BURNSIDE
My eyes are wide open, Agent
Wagner.
Burnside grabs a marker from his desk and goes to the map.
BURNSIDE
You want to know what I see?
Burnside quickly connects the dots in a different way, drawing
the rough outline of A PIG.
BURNSIDE
A pig.
(then)
Put out an APB for Babe.
Wagner stares at him coldly.
BURNSIDE
You can connect the dots a
thousand different ways. Sloan
sees what he wants to see. That's
what got us in this mess to begin
with.
WAGNER
The target is an art gallery. It
wouldn't hurt to evacuate the
place.
BURNSIDE
It will when the clucks on the
eleven o'clock news find out why
we did it.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 17.
14 CONTINUED: (2) 14
WAGNER
If Sloan is wrong. If he's right,
we save lives.
BURNSIDE
We will not act on Sloan's stupid
theory. And if you want to stay on
this investigation, neither will
you.
And on Wagner's slow burn, we CUT TO:
15 EXT. GALLERY - DAY 15
Steve and Jesse screech to a stop across the street from an
ART GALLERY, which is hosting a gala opening/show of
INDONESIAN ART. Our heroes hurry out of their car and cross
the street as:
JESSE
Where are the police?
STEVE
They're not coming. If Burnside
believed Wagner, there'd be here
already.
JESSE
Then we've got to find the bomb.
STEVE
Forget about the bomb. We have to
get these people out of here.
16 INT. ART GALLERY - DAY 16
Steve and Jesse elbow their way into the gallery, past the
well-heeled, new money guests. Steve yells:
STEVE
Listen up! Everyone needs to
leave right now. There's a bomb
in the building. Move quickly to
the door and keep on going.
The gallery owner, TIMON, laughs a bit too uproariously and
begins to appluad.
TIMON
(to the crowd)
Don't you love performance art?
So immediate, so daring.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 18.
16 CONTINUED: 16
Everyone joins him now in applauding. Steve and Jesse share
a look. This is too surreal.
JESSE
(to Timon)
Maybe you didn't hear him - this
place could blow any minute.
He rolls his eyes.
TIMON
This is what I get for opening a
gallery next to an acting school.
You tell Drago this is my
business, not his improv class.
STEVE
It's going to be a funeral pyre if
we don't get these people out of
here.
Jesse pushes past him and yells:
JESSE
You are all going to die if your
don't get out.
A few people hesitate, most just stare at him, uncertain
whether to applaud, laugh, or just eat another hors d'oeuvre.
JESSE
Are the crab cakes really worth
dying for?
STEVE
Not anymore.
Steve has reached his limit. He marches over and OVERTURNS
the hors d'oevres table, sending it crashing to the floor.
STEVE
Go!
Now the people start to rush out, if for no other reason than
to get away from the crazy man. Timon glares at Jesse.
TIMON
(to Jesse)
Those aren't crab cakes, they're
scallops layered with truffles in
a puff pastry.
JESSE
Next time try those little frozen
pizza rolls. They're terrific.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 19.
16 CONTINUED: (2) 16
Jesse pushes him to the door.
17 EXT. GALLERY - DAY 17
As Steve hustles the people across the street.
STEVE
Hurry. Across the street. Take
cover behind the parked cars.
Jesse follows, literally dragging Timon.
TIMON
Do you know what you're doing?
This is Ernest Wallengren's first
show in two years.
That's when Wagner screeches up in his car and emerges in his
FBI windbreaker.
WAGNER
Is everyone out of there?
STEVE
I think so.
Timon looks at Wagner.
TIMON
You're with the FBI?
(off his nod)
Then there really is a bomb?
WAGNER
I'm afraid so.
TIMON
There are priceless Wallengrens in
there!
He starts to go, but Wagner grabs him.
WAGNER
I don't care.
Timon has a sudden realization.
TIMON
Where's Andre?
STEVE
Who's Andre?
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 20.
17 CONTINUED: 17
TIMON
The caterer -- he was in the back
room.
Steve and Wagner rush to the gallery when --
18 EXT. GALLERY - DAY 18
KA-BLAMMO! The place EXPLODES, coughing out a TREMENDOUS
FIREBALL that sends Steve and Wagner hurling directly at us...
and we FADE OUT.
END OF ACT FIVE
"Obsession" Part Two 2/10/98 (GOLDENROD) 21.
ACT TWO
FADE IN:
19 EXT. GALLERY - LATE 19
FIRE CREWS wash down the embers as FORENSIC TECHS and
INVESTIGATORS investigate, interviewing the guests. Wagner
sits on the bumper of an EMT truck as Jesse dresses his burns
and cuts. Another EMT works on Steve.
WAGNER
Just once I'd like to visit Los
Angeles without getting stitches
and dodging bombs.
JESSE
Look at the bright side - at least
this one wasn't nuclear.
We FIND a BODY BAG being carried by two coroner's assistants,
and we follow it as it passes Steve, who is giving Burnside
holy hell.
STEVE
Because of your selfish political
concerns, that man is dead. If
you'd listened to Wagner, we could
have thoroughly evacuated the
gallery before anyone got hurt.
Burnside is clearly shaken.
BURNSIDE
I thought you did.
STEVE
He was in the backroom, wearing
headphones. He never heard the
warnings.
BURNSIDE
I'm sorry, Steve. I don't know
what else to say.
STEVE
When you think of something, don't
tell me. Tell his next of kin.
Steve walks away, disgusted, walking right into Sharon Ellison.
ELLISON
Where's Dr. Sloan? I have some
questions for him.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 22.
19 CONTINUED: 19
STEVE
We don't have time for that. We'll
fill you in after we catch Carter
Sweeney. My dad knows what the
next target will be.
ELLISON
I'm sure he does. I'm surprised
he's not here.
STEVE
After the way he was treated last
time, he felt it would be counter-
productive.
ELLISON
You mean he didn't want to be
seen. He picked a strange time to
become bashful.
Steve looks at her incredulously.
STEVE
Look around, lady. My father
predicted this. He saw the
pattern. That we're even standing
here, having this conversation,
proves he was right all along.
ELLISON
That's one explanation.
(to Mark)
Another is that he set this bomb
himself as a stunt to clear his
name and justify further
harassment of the Sweeneys. He's
not here because he's afraid to
return to the scene of his crime.
STEVE
You're out of line.
ELLISON
(to Steve)
I'm doing my job.
Ellison walks off. And on Steve looking after her, we DISSOLVE
TO:
20 INT. BEACH HOUSE - DAY 20
Mark is examining the map when there is an insistent pounding
at the front door. Mark opens it to find Sharon Ellison and
two officers. They march past him into the house.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 23.
20 CONTINUED: 20
ELLISON
Interesting decor, doctor. You
seem to be a fan of the serial
bomber.
MARK
I'm trying to stop him. If you'd
listened to Wagner, we might have.
Ellison notices the box of evidence, the official files, etc.
ELLISON
If I'm not mistaken, your living
room knickknacks look like
official documents and evidence in
an active police investigation.
MARK
I'm consulting with the FBI.
ELLISON
You're obstructing justice.
Ellison motions to the officers.
ELLISON
I'm confiscating all of this.
MARK
Do you have a warrant?
ELLISON
I don't need one.
She holds up one of the files.
ELLISON
You see this seal, doctor? It
means it belongs to me. By having
this evidence in your possession,
you have seriously compromised an
ongoing investigation.
(then)
But that was your intention all
along, wasn't it?
MARK
Without this evidence, I couldn't
have figured out the bomber's
pattern. Now that I have, we can
stop him.
She looks at him with disgust.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 24.
20 CONTINUED: (2) 20
ELLISON
We certainly can. You're coming
down town with me.
MARK
Am I under arrest?
ELLISON
If that's what it will take to get
you into an interrogation room to
answer my questions.
Mark meets her gaze, then grabs a jacket.
MARK
That won't be necessary. I'll
answer any questions you have.
Mark walks out with her. And on the officers gathering up
everything, we DISSOLVE TO:
21 EXT. LOS ANGELES - VARIOUS SHOTS - DAY (STOCK) 21
As dawn rises over the city and people inch towards work on
clogged freeways, we HEAR:
CARTER-ON-THE-RADIO
The serial bomber struck again
yesterday, or so Mark Sloan would
like you to believe.
22 INT. RADIO STATION - DAY 22
Carter is at the mike, talking to the city. We PAN AROUND HIM
as he talks.
CARTER
Sloan was questioned for several
hours and released, but we have to
hope he won't be free for long.
If what the police believe is
true, it shows just how far Sloan
will go to be right, even if it
costs lives... just as it cost my
father his.
(then)
But friends, I know you aren't
being fooled. The latest polls
show that Sloan's crony, DA Neil
Burnside, is being trounced by
Sharon Ellison. Maybe there's some
justice out there after all...
"Obsession" Part Two 2/10/98 (GOLDENROD) 25.
23 INT. AMANDA'S HOUSE - DAY 23
Amanda cradles the phone to her ear.
AMANDA
There are rumors around the bureau
that Mark has been arrested.
INTERCUT WITH:
24 EXT. BEACH HOUSE - DECK - DAY 24
Wagner is on his cell phone.
WAGNER
He was questioned by Sharon
Ellison, that's all. He's made
himself into her prime suspect.
AMANDA
Poor Mark. How's he holding up?
He glances into
25 INT. BEACH HOUSE - LIVING ROOM - DAY 25
Where Mark paces anxiously in front of Jesse and Steve.
26 BACK TO SCENE 26
Wagner's troubled. He hates to lie to Amanda, but:
WAGNER
He's fine.
AMANDA
I should be there.
WAGNER
I'm handling this, Amanda.
AMANDA
He doesn't have many friends right
now.
WAGNER
You're wrong. He's got too many.
(before she can
object)
Stay where you are. Your life is
back East now.
AMANDA
Right. And you're in LA.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 26.
26 CONTINUED: 26
WAGNER
One of these days we'll get this
right, I promise.
He hangs up and as we END INTERCUT:
27 INT. BEACH HOUSE - DAY 27
Wagner comes into the living room where Mark is pacing before
Steve and Jesse.
MARK
We're going to get Carter Sweeney.
He has to make a mistake soon.
WAGNER
Why should he? You've made enough
for two.
MARK
I'm not going to let him beat me.
WAGNER
No, you'll destroy yourself before
you give him the pleasure.
STEVE
My father is exhausted. Take it
easy, okay?
WAGNER
Like you do? Go along with
everything he says, no matter how
insane?
STEVE
Watch your mouth.
WAGNER
Maybe if Mark followed that
advice, Jesse wouldn't be cleaning
bedpans and your career wouldn't
be ruined.
Steve DECKS HIM. Wagner hits the floor. Mark gets between
Steve and Wagner.
MARK
(to Steve)
That's enough!
(to Wagner)
What's wrong with you?
Wagner struggles to his feet, pinning his gaze on Mark.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 27.
27 CONTINUED: 27
WAGNER
You. I let you drag me into this
ridiculous obsession with Carter
Sweeney, until I couldn't see past
it either.
MARK
Carter Sweeney is the bomber.
WAGNER
What is that, a mantra with you?
Based on what? Your dislike of the
man? The fact he's treated you
badly?
MARK
I figured out the pattern.
Wagner gets right in Mark's face.
WAGNER
Yes, you did. But you're letting
your hatred of Carter Sweeney
blind you to the facts.
STEVE
What facts?
WAGNER
Who's benefiting from these
bombings?
MARK
Carter Sweeney. He's trying to
clear his father's name.
WAGNER
Then why didn't he do it when it
could have saved his father's life?
Mark looks away.
WAGNER
Go ahead, answer the question.
Mark can't.
WAGNER
I can't hear you, Mark.
Steve steps in front of Wagner. Before Steve can throw
another punch, Wagner says:
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 28.
27 CONTINUED: (2) 27
WAGNER
Ask yourself: Who stands to gain
from raising doubt about Lewis
Sweeney's guilt? Who gains by
making Mark seem like a madman and
Burnside seem like a fool for
listening to him?
There's a long, tense silence.
WAGNER
Who wins by destroying Burnside
and bringing an end to the
bombings? Who alone benefits from
the terror, the hysteria, the
instability?
STEVE
(quietly)
Sharon Ellison.
Exactly. Wagner waits while the thought percolates through the
room. Steve hates to say this, but...
STEVE
When Lewis Sweeney was executed,
Burnside's approval rating was
almost 100 percent.
WAGNER
Now what is it -- twenty?
STEVE
Thirteen, and dropping.
JESSE
And she's been on Sweeney's show
dozens of times. He could have
told her about his father's
pattern.
WAGNER
Sounds like a woman with a motive
and a plan to me.
They all turn to Mark, who is stunned at the thought.
MARK
Is it possible that she's been
using me and Sweeney all along?
WAGNER
I know one way to find out.
And on his determined look, we CUT TO:
"Obsession" Part Two 2/10/98 (GOLDENROD) 29.
28 EXT. STREET - DAY 28
Wagner's car follows a red BMW 325 -- an entry-level luxury
car. Sharon Ellison is at the wheel.
29 INT. WAGNER'S CAR - DAY 29
Wagner at the wheel. Steve slumped in the passenger seat.
STEVE
I'm so glad we decided to spend
this day doing something useful
instead of helping my father.
WAGNER
Even if I'm completely wrong about
Sharon Ellison, this is helping
your father.
STEVE
I know he'll appreciate learning
where LA's next district attorney
gets her hair done. And her dry
cleaning. And her grocery
shopping, banking...
WAGNER
If it takes his mind off Carter
Sweeney even for half a day, maybe
it'll allow him to get a little
perspective.
STEVE
Then you don't think Ellison's the
bomber? This is just a mental
hygiene exercise for my father?
WAGNER
I didn't say that. We may still
get lucky.
30 EXT. STREET - DAY 30
The BMW pulls up outside REGAN SWEENEY DESIGNS. Wagner's car
pulls up a safe distance behind it as Ellison gets out of her
car and walks to the building's entrance, pushing the doorbell.
31 IN THE CAR 31
Wagner grins.
WAGNER
Very lucky.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 30.
31 CONTINUED: 31
STEVE
I take back what I said about your
smart-ass remarks and knocking out
your teeth.
WAGNER
(dead-pan)
You mean I can stop quivering now?
The building's door opens and Caitlin Sweeney appears.
STEVE
I wish we could hear what they
were saying.
WAGNER
We can.
Wagner reaches into the back seat and comes up with a SHOTGUN
MIKE. He points it out the window and we:
32 EXT. BUILDING - DAY 32
where Caitlin talks nervously to Ellison.
CAITLIN
Detective Sloan was here a few
weeks back.
ELLISON
Was he ever alone in your shop?
CAITLIN
Why would he be?
ELLISON
Caitlin, I have reason to believe
someone planted a bomb
specifically to frame your
brother. In the bomb fragments we
found pieces of African Walnut
just like the kind you use here.
Caitlin likes where this is going. Suddenly, she's a lot more
cooperative.
CAITLIN
I couldn't stand the sight of him,
so I walked away and left him
alone in my workshop. It would
have been easy for Steve Sloan to
steal a piece of my wood.
Ellison nods. She's got what she came for and
"Obsession" Part Two 2/10/98 (GOLDENROD) 31.
33 IN THE CAR 33
Steve is shocked.
STEVE
Now Ellison is out to get me, too.
WAGNER
Maybe she is. Or maybe she's just
doing her job.
They duck down in their seats as Ellison gets in her car and
drives away. After a moment, Wagner starts his car and follows
at a safe distance. DISSOLVE TO:
34 EXT. SWANK RESTAURANT - NIGHT 34
The BMW parks beside a fancy restaurant. Ellison gets out.
Wagner's car pulls up just down the block.
35 INT. WAGNER'S CAR - NIGHT 35
Wagner and Steve watch Ellison.
STEVE
We should go straight to Burnside.
WAGNER
And tell him what?
STEVE
That his campaign rival is
conspiring with Caitlin Sweeney.
WAGNER
I didn't hear anything like that.
STEVE
She practically told Caitlin what
to say.
WAGNER
An aggressive interviewing style
is hardly proof of corruption.
That's when Carter Sweeney emerges from another car and stides
toward Ellison.
STEVE
No, but that is.
Wagner's just as surprised as Steve, but he's holding it in.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 32.
35 CONTINUED: 35
WAGNER
Carter Sweeney is not a criminal.
She could be here on legitimate
business.
36 THEIR POV 36
Carter embraces Ellison and they kiss passionately.
37 EXT. WAGNER'S CAR - NIGHT 37
Steve shares a look with Wagner.
STEVE
Case closed.
And on their looks, we DISSOLVE TO:
38 EXT. BEACH HOUSE - ESTABLISHING - MORNING 38
39 INT. BEACH HOUSE - MARK'S ROOM - MORNING 39
Mark swings out of bed, still groggy, slips his feet into
slippers, puts on his bathrobe and trudges to the door, which
is slightly ajar. That's when he sees
40 HIS POV 40
A NOTE, tape to the door, that reads in computer-printed type:
WATCH YOUR STEP.
41 BACK TO SCENE 41
As Mark digests this. He's about to open the door the rest of
the way, when some instinct makes him reconsider.
He glances at the note again, then glances down. Something
catches his eye. He crouches on the floor and sees:
42 HIS POV 42
A TAUT FISHING LINE, barely visible, stretching from the
bottom of the door to a small, ORNATELY CARVED WOODEN BOX on
the floor.
"Obsession" Part Two 2/10/98 (GOLDENROD) 33.
43 BACK TO SCENE 43
And on Mark's horror, we FADE OUT.
END OF ACT SIX
"Obsession" Part Two 2/10/98 (GOLDENROD) 34.
ACT THREE
FADE IN:
44 INT. BEACH HOUSE - DAY 44
Mark is exactly where we left him. He carefully removes the
trip wire from the bottom of the door and carefully moves into
the hallway. Mark crouches over the box and, his hand shaking,
cautiously lifts the top off to expose
45 THE BOX - HIS POV 45
Yep, there's a BOMB INSIDE.
46 BACK TO SCENE 46
Nervously, he sorts through the wires to find just the right
one and pulls it from the unit. He sighs with relief and rises
again.
47 INT. BEACH HOUSE - CORRIDOR - DAY 47
He's not ready to let down his guard yet. Mark takes each step
very carefully, his eyes searching for anything out of the
ordinary. We can almost hear his heart pounding... feel the
beads of sweat forming on his brow...
His eyes catch something...
48 HIS POV - THE FLOOR 48
There's a BULGE under a floorboard.
49 BACK TO SCENE 49
Mark crouches beside the board.
50 HIS POV - THE BOARD 50
It's scratched at the edges, as if it was jimmied up. Mark
gently lifts the board to reveal A SMALL BOMB under a PRESSURE
PAD.
51 BACK TO SCENE 51
Takes a deep breath, sets the board aside, and walks around
the bomb into
"Obsession" Part Two 2/10/98 (GOLDENROD) 35.
52 INT. BEACH HOUSE - ENTRY HALL - DAY 52
He pauses to scan the room. Through the glass of the door, we
can see Steve and Wagner approaching. They are nearly at the
door when Mark sees:
53 A PHOTO CELL 53
Propped inside a POTTED PLANT.
54 BACK TO SCENE 54
Steve is about to open the door when Mark yells:
MARK
Don't move, Steve!
Wagner and Steve freeze.
STEVE
What is it?
Mark lifts the photo cell, following the cable to a BOMB
behind the pot. He carefully removes the cable from the bomb
and takes a deep breath.
MARK
You can come in now... slowly.
Wagner and Steve step inside.
MARK
I took a sleeping pill last night.
I'll never do that again.
Mark holds up the bomb from behind the potted plant.
MARK
I found one rigged to my bedroom
door, another under a floorboard.
There's no telling how many more
boobytraps there are.
Wagner whips out his cell phone.
WAGNER
I'll call the bomb squad.
Mark stops him.
MARK
No. We handle this ourselves, and
send the evidence directly to
Amanda for study - just in case
Sharon Ellison is involved in this.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 36.
54 CONTINUED: 54
STEVE
She is.
WAGNER
Sharon Ellison and Carter Sweeney
are lovers.
MARK
We're getting close and they know
it.
STEVE
I think it's time I got back on
this investigation.
MARK
How are you going to do that?
STEVE
Politics.
And on Steve's look, we CUT TO:
55 INT. BURNSIDE'S OFFICE - DAY 55
Burnside stares at Steve with incredulity.
BURNSIDE
There's absolutely no way I'm
putting you back on the case. The
only thing crazier would be
bringing your father back on.
STEVE
What do you care? Your approval
rating is in negative integers
already.
BURNSIDE
Get out, Sloan.
STEVE
Give me back my detective shield,
and you might have a chance to
beat Sharon Ellison.
BURNSIDE
By giving her more ammunition to
club me with in the media?
Brilliant strategy. I can see why
you've risen so far in the
department.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 37.
55 CONTINUED: 55
STEVE
Put me on the investigation, and
I'll give you Sharon Ellison right
now.
BURNSIDE
You have something on Ellison?
STEVE
Reinstate me and find out. If you
don't like what I've got, back out
of the deal. I can't force you to
hold up your end.
Burnside is clearly intrigued.
BURNSIDE
I could take your information and
give you nothing. You have no
power at all.
Steve tosses a MANILLA ENVELLOPE on his desk. Burnside takes
a peek at the pictures.
56 HIS POV - THE PICTURES 56
Grainy shots of Ellison and Sweeney, taken through a bedroom
window, as they make love.
57 BACK TO SCENE 57
A smile slowly spreads across Burnside's face.
BURNSIDE
Pick up your badge on your way out.
Steve nods and heads for the door. Just before he leaves,
Burnside calls after him.
BURNSIDE
You've become a politician.
STEVE
Don't think so. I can still look
at myself in the mirror.
BURNSIDE
The best always can.
Steve leaves. And on Burnside, smiling to himself, we CUT TO:
"Obsession" Part Two 2/10/98 (GOLDENROD) 38.
58 INT. BEACH HOUSE - NIGHT 58
Mark, Steve and Wagner lean over photos of a WAREHOUSE.
STEVE
This is the next target, an empty
warehouse in Chatsworth.
WAGNER
At least we don't need to worry
about evacuating a lot of people.
STEVE
Starting today, we'll have it
under 24 hour surveillance though,
for all we know, the bomb could
have been planted weeks ago.
MARK
And we don't know whether he uses
timers or a remote signal.
AMANDA'S VOICE
At least we know where the circuit
boards are coming from.
They all turn, surprised to see Amanda striding into the house.
WAGNER
You're supposed to stay back east.
AMANDA
I'm also not supposed to be
working on this case. I don't take
restrictions well.
(then, to Sloans)
And I'm not going to sit this case
out, not when the people I care
about most are right in the center
of it.
MARK
We appreciate it, Amanda.
STEVE
Can we save the appreciation for
later - what have you got?
AMANDA
I traced the circuit board to a
manufacturer in Taiwan, who is the
exclusive supplier to Techno City,
a chain of Southern California
electronics stores. This
particular board is part of a lot
number delivered in the last six
weeks.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 39.
58 CONTINUED: 58
Wagner whips out his cell phone.
WAGNER
I'll dispatch agents to canvas the
stores right away.
AMANDA
You already have. The agents were
sent out this morning.
(off his look)
I have a lot of initiative.
Wagner snaps his cell phone shut and slips it into his pocket.
WAGNER
We'll have to talk about that.
STEVE
Later. We have a warehouse to
watch.
Wagner nods and they rush out, but not before Wagner doubles
back and gives Amanda a kiss.
WAGNER
I'm glad you're here.
He heads back off after Steve. And on Mark and Amanda, we
DISSOLVE TO:
59 EXT. STREET - DAY 59
Steve is sitting in a car, watching the warehouse when Wagner
walks up and joins him.
STEVE
Took you long enough.
(then)
Where are the burritos?
WAGNER
Forgot about them.
STEVE
Then what were you doing all this
time?
WAGNER
Getting briefed. Amanda's lead
panned out. Sharon Ellison paid
cash for a dozen boards at a South
Pasadena Techno City three weeks
ago.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 40.
59 CONTINUED: 59
STEVE
If she paid cash, how do they know
it was Ellison?
WAGNER
The clerk ID'd her picture and we
have the transaction on security
camera footage.
STEVE
She can argue that she was just
fixing her home computer. There's
got to be a thousand people in LA
who bought boards with the same
lot number.
That's when a CAR drives up to the warehouse and parks on a
side street. Steve takes out his camera and starts snapping.
60 CAMERA POV 60
As Sharon Ellison emerges from the car carrying a large
shopping bag. She looks around, then goes into the warehouse.
61 BACK TO SCENE 61
Steve puts down the camera. Wagner gets out his gun.
WAGNER
Let her argue whatever she wants.
I'm arresting her.
They are about to get out of the car when
62 THE WAREHOUSE - DAY (STOCK) 62
A FIREBALL blows out the loading bay doors, hurling fiery
rubble at us.
63 INT. CAR - DAY 63
Steve and Wagner duck as the car is pummeled with flaming
wreckage... and on the two of them rising up, staring at the
burning building, we ---
DISSOLVE TO:
"Obsession" Part Two 2/10/98 (GOLDENROD) 41.
64 EXT. CITY HALL - DAY 64
A CROWD OF REPORTERS surrounds a dais, on which stands Neil
Burnside, who is working hard to make it look like he's not
gloating. Carter and Caitlin Sweeney stand behind him; at the
back of the dais are blow-ups of the photos of Sharon Ellison
entering the warehouse and the map with REGAN SWEENEY written
across it.
BURNSIDE
If I hadn't seen these
photographs, I wouldn't believe
it, either. Sharon Ellison, a
trusted colleague, a valued
advisor and, if I may say it, a
friend, was actually the serial
bomber who held this city in
terror for so long.
There's an excited BUZZ from the crowd.
REPORTER
Do you know the motive?
BURNSIDE
We all knew Sharon was extremely
ambitious -- as some of you might
have noticed over the last few
months. But I'm afraid that what
we mistook for healthy ambition
was actually a pathological desire
for power.
REPORTER
Are you saying she murdered dozens
of people to get your job?
BURNSIDE
It sounds insane. But look at it
this way -- it almost worked.
The reporters press forward to ask more questions, but
Burnside holds up his hand to stop them.
BURNSIDE
I will answer all your questions.
But first, there's a gentleman
here who'd like to make a
statement.
He gestures to Carter Sweeney, who comes up to the reporters,
Caitlin following.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 42.
64 CONTINUED: 64
CARTER
A statement? No, I don't think so.
What I'd like to make is a public
apology. To Dr. Mark Sloan.
INTERCUT WITH:
65 INT. BEACH HOUSE - DAY 65
Mark, Steve, Jesse, Amanda, and Wagner are clustered around
the television, watching the press conference.
CARTER ON TV
I was so blinded by my anger at
Dr. Sloan for the death of my
father that I was willing to
believe him capable of anything,
including the murder of dozens of
innocent people. When in fact, it
was he, and he alone, who solved
those murders.
MARK
I was never alone -- thanks to all
of you.
They share the moment as
66 EXT. CITY HALL 66
Carter continues.
CARTER
And that's not the extent of my
guilt. Unwittingly, I collaborated
in the bombings by giving Sharon
Ellison information she needed to
carry on my father's reign of
terror.
REPORTER
Are you finally conceding that
your father was the Sunny View
Bomber?
Carter and Caitlin share a look.
CAITLIN
We've hidden from the truth too
long. If we'd accepted it years
ago, maybe some of these people
wouldn't have died.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 43.
66 CONTINUED: 66
CARTER
I'd like to thank Mark Sloan for
all he's done. And if he ever
comes on my show, I'll spend all
three hours humbling myself before
him.
END INTERCUT:
67 INT. BEACH HOUSE 67
as Mark snaps off the television.
JESSE
Well, what can you say to that?
MARK
That Carter Sweeney is even
smarter than I thought -- and just
as dangerous.
They all stare at him, shocked.
STEVE
Dad, it's over.
MARK
Is it?
AMANDA
You've got your medical license
back, Community General has
rehired you --
JESSE
And me.
STEVE
I've got my old job back, too. And
I'm sure if Amanda feels like
relocating again, the coroner's
office will welcome her.
Amanda and Wagner share a look. It's not time to talk about
this to the others.
MARK
And Carter Sweeney finished his
father's life work.
WAGNER
Mark, this obsession almost
destroyed you. Let go.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 44.
67 CONTINUED: 67
MARK
It's not obsession. It's the
facts. They don't fit.
The others share a queasy look. Has Mark lost it completely?
MARK
Don't you see? It was too easy.
AMANDA
You call what we've been through
for the last few months easy?
MARK
No. The last couple of days.
(off their doubt)
How many mistakes did Carter --did
the bomber make?
STEVE
She didn't make any. That's why
she was so hard to catch.
MARK
So why am I alive? Why didn't
those booby traps work?
The others still don't know where Mark's going with this.
MARK
Remember what I said at the art
gallery? If only we'd found the
bomb before it blew, we might be
able to track it back to its
creator.
JESSE
But the bombs always blew up.
MARK
Except for the ones in my house.
In my house.
(then)
Why did she leave me a note
warning me to "watch my step?" Why
did she give me a chance to
survive?
WAGNER
Sharon Ellison was toying with you.
MARK
By taking the risk I'd survive...
and be left with bomb components
that would lead directly back to
her?
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 45.
67 CONTINUED: (2) 67
That thought troubles Steve. Not Wagner.
WAGNER
So she got a little sloppy at the
end.
STEVE
After all that care, all that
precision? Does that sound right
to you?
(off his silence)
Go on, answer the question. I
can't hear you.
Wagner shoots Steve a look -- he's not amused.
MARK
Here's another one: Why did she
bomb that warehouse?
AMANDA
It was the last piece of the
pattern.
MARK
A pattern she knew I'd cracked. I
told her myself.
Now Jesse's getting on board.
JESSE
So she must have known we'd have
the warehouse staked out.
MARK
Exactly. Why would she walk right
into our trap?
WAGNER
The pattern --
A thought hits Amanda.
AMANDA
Wait a minute. Why would she care
about the pattern?
Wagner stares at Amanda, feeling betrayed. But Mark's
thrilled. They're all getting it.
STEVE
Sharon Ellison had no reason to
write Regan Sweeney's name across
the city.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 46.
67 CONTINUED: (3) 67
MARK
And since I'd claimed I could
predict where the next bomb would
go off, wouldn't it have made me
look worse if she'd blown up a
location halfway across town?
Okay, it sounds good to Wagner. But then, Mark always made it
sound good before.
WAGNER
So what was Sharon Ellison? An
accomplice?
MARK
Or an innocent dupe who made the
mistake of doing a couple of
simple favors for her lover.
WAGNER
The real bomber. Carter Sweeney.
(then)
I may owe you an apology.
MARK
It's not your apology I want to
hear.
He picks up the phone and dials.
MARK
(into phone)
Hello, this is Dr. Mark Sloan.
Carter Sweeney offered to
apologize to me personally on his
show. I'd like to take him up on
that.
And as they see the plan a-hatching, we FADE OUT.
END OF ACT SEVEN
"Obsession" Part Two 2/10/98 (GOLDENROD) 47.
ACT FOUR
FADE IN:
68 INT. RADIO STATION - CORRIDOR - DAY 68
Mark is walking down the corridor, past a RADIO BOOTH window,
as he hears a familiar-sounding DJ say:
MAN-ON-RADIO
And now clue number 37 in this
week's famous name contest.
He stops and does a double-take through the glass.
69 MARK AND THE WINDOW - (GREEN SCREEN) 69
The DJ is a fellow named ROB PETRIE, and maybe it's a trick of
the light, but he sure looks like a younger Mark Sloan in
BLACK AND WHITE.
ROB PETRIE
Folks, that jackpot is now up to
17 dollars. All you got to do is
catch that clue to collect that
cash.
Mark stares at the man for a moment, then shakes his head,
baffled and moves on.
70 INT. RADIO STATION - CORRIDOR - DAY 70
Mark continues on, still a bit disoriented, when he's met by
Carter Sweeney.
CARTER
Are you all right, doctor?
MARK
It must be too early in the
morning for me.
Carter leads him into his booth.
CARTER
Come in, a cup of coffee should
wake you up.
71 INT. RADIO STATION - CARTER'S BOOTH - DAY 71
As Mark settles in across from Carter at the mike. An
assistant sets a cup of coffee in front of Mark.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 48.
71 CONTINUED: 71
CARTER
We're on in ten seconds. I know we
have a lot to say to one another,
but I'd like to save it for the
air.
MARK
Fine with me.
They share a silent moment or two, listening to the radio...
WOMAN'S VOICE
... the traffic clogs up on the
Ventura Freeway at the 405, but
then it's clear straight through
to the Hollywood Freeway
interchange. I'm Kate Klas in the
KCDM traffic center. Now back to
the Carter Sweeney show.
...THE PRODUCER signals Carter from the control booth.. and
the ON THE AIR light flashes on. Carter leans into the mike.
CARTER
Welcome, friends.
(then)
What is a hero? Someone willing to
sacrifice himself for the good of
another. But there is another,
rarer expression of heroism...
someone willing to sacrifice
himself for what he believes,
against any and all obstacles. I
know such a hero. His name is Mark
Sloan...and he is here with me
today.
MARK
I'm sure I don't live up to such
a flattering introduction, but
thank you anyway.
CARTER
No, I'm the one who owes you
thanks.
(then)
Thank you for never giving up,
thank you for the strength of your
convictions. Thank you for
enduring my harassment these many
months.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 49.
71 CONTINUED: (2) 71
MARK
You were only doing the same thing
I was -- arguing for what you
thought was true. I can't fault
you for that.
CARTER
I fault myself.
(then)
Which brings up an interesting
question: when does personal
conviction become destructive
arrogance and unchained ego?
MARK
I don't think this was ever about
arrogance or ego. It was about
obsession.
CARTER
(following along)
I was obsessed with blaming you
for my father's execution, you
were obsessed with blaming me for
the new bombings. And it blinded
us both to what was really
happening: Sharon Ellison's shrewd
manipulation of a tragic situation
for political gain.
MARK
Her obsession to be district
attorney.
(then)
It's a shame we never found that
last piece of evidence to make the
picture complete.
CARTER
There's no question she was the
bomber, is there?
MARK
Oh no, none at all. All the
evidence fits perfectly. There's
just one, tiny bit missing that,
for my own peace of mind, I wish
I'd found.
CARTER
You know she was making the bombs.
You know why she was doing it. And
you even caught her in action.
What could possibly be missing?
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 50.
71 CONTINUED: (3) 71
MARK
A tiny bit.
CARTER
(frustrated)
Yes, I know it's a small detail,
what I'm asking is-
MARK
(interrupts)
A bit -- the kind modern wood-
workers use to craft their work.
Your father made the wooden boxes
for his bombs by hand, Sharon
Ellison used power tools. She
wasn't the craftsman your father
was.
CARTER
Few people are. I still don't see
what difference a bit makes.
MARK
A molding head bit, to be exact.
Hers had a nick in it, which made
a slight, but identifiable
irregularity in her detailing. I
would have liked to have found it.
CARTER
Don't be so hard on yourself, Dr.
Sloan. We'd all like perfect
closure, but that only happens on
TV.
MARK
I know you're right. It's just
that when I get stuck on
something, I can't stop thinking
about it.
CARTER
What counts is that your courage
and tenacity paid off. Justice was
served.
And on Carter's smile, we CUT TO:
72 EXT. PUBLIC STORAGE FACILITY - DAY 72
A nondescript row of small warehouses in a forgotten corner of
the valley. A FINE EUROPEAN CAR slides up to the security
gate. Someone reaches out the window, punches in his security
code and, once the gate opens, drives on. We follow the car to
a unit in a far corner. The driver gets out.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 51.
72 CONTINUED: 72
It's CARTER SWEENEY. He looks around, then unlocks the door to
the unit and slips inside.
73 INT. STORAGE UNIT - DAY 73
He yanks the chain on the BULB hanging overhead to REVEAL a
WOOD-WORKING SHOP. But it's very different from what we saw at
Caitlin's place. Carter works with power tools. We can see
HALF-MADE and DISCARDED pieces of BOMB BOXES.
Carter goes directly to his tool chest and yanks open the
drawer containing his DRILL BITS. He begins sorting through
them, searching, when:
MARK'S VOICE
Looking for something?
Carter whips around to see Mark and Steve standing just inside
the doorway. Steve's gun is drawn.
MARK
I'm sure it won't take us long to
find the molding head bit. But we
never could have found it, or this
workshop, without your help.
STEVE
Think of all the overtime pay I've
lost.
MARK
You could have gotten away with it
if you'd only used your father's
original tools.
CARTER
I never had the patience for that
kind of work.
STEVE
Why didn't you resume the bombings
before your father was executed?
Unnoticed by Steve and Mark, while Carter talks, he inches his
hand towards a NAIL GUN.
CARTER
Because he made me promise not to.
I'm the last man in our Sweeney
clan - he didn't want to risk our
family name dying with me in
prison.
(then)
I honored that promise until he
was dead.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 52.
73 CONTINUED: 73
MARK
And then you continued to wreak
your father's vengeance against
the city.
CARTER
My family's vengeance. My
grandfather was a hero. So was my
father.
MARK
Your grandfather stood up for his
family and his home. Yes, he was
a hero. But not your father. He
was a homicidal lunatic. Just like
you.
That's when, in a quick move, Carter whips up the NAIL GUN and
shoots
74 STEVE 74
Who's hit TWICE IN THE ARM. He drops his gun in AGONY.
75 MARK 75
Thinking fast, tackles Steve, carrying him down behind a table
as
76 CARTER 76
Continues to fire, the NAILS following them in an arc, taking
out things all over the room and SHATTERING the LIGHT BULB,
plunging them into darkness. Carter rushes outside, still
carrying his weapon.
77 EXT. STORAGE UNIT - DAY 77
Carter emerges just as WAGNER'S CAR screeches in. Carter fires
at:
78 THE CAR 78
Popping the TIRES, sending it CAREENING OUT OF CONTROL INTO A
FENCE.
79 CARTER 79
whirls around FIRING just as Steve, arm bleeding, comes
swinging at him from behind with a two-by-four.
"Obsession" Part Two 2/10/98 (GOLDENROD) 53.
80 STEVE 80
Holds up the wood just in time - THREE NAILS slam into it.
Wielding the board, Steve bats the nail gun out of Carter's
hand, then whaps him across the head. Carter hits the ground.
Steve staggers, hit by a sudden wave of dizziness. His arm is
SOAKED IN BLOOD.
81 EXT. STORAGE UNIT - DAY 81
Wagner runs up, gun out, and kicks the nail gun away from
Carter.
Mark emerges from the storage unit just in time to CATCH
Steve, who collapses into his arms from loss of blood. And on
the SOUND of a CHOPPER overhead, we DISSOLVE TO:
82 INT. COMMUNITY GENERAL - DOCTORS' LOUNGE - NIGHT 82
It is a few days later. Mark comes in with Amanda, who looks
uncomfortable.
MARK
I told you the interview would be
a breeze.
AMANDA
A breeze. Right.
MARK
I know, Human Resources puts on a
show about all the great
applicants they've had for your
job --
AMANDA
Some of them are pretty good.
MARK
If any one of them had half your
talent, you think that job would
still be open?
AMANDA
I guess not.
Mark pours two cups of coffee and brings one to her for a
toast.
MARK
So welcome back to Community
General. We've missed you.
That's when Wagner appears in the doorway, looking rushed.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 54.
82 CONTINUED: 82
WAGNER
I know you only asked for an hour,
but being a gentleman, I gave you
two.
AMANDA
Really. Time goes by so fast when
you're having fun.
Mark turns to Wagner with a broad smile.
MARK
Come on in. We were just
celebrating Amanda's official
return to Community General.
Wagner looks from Mark to Amanda, surprised.
WAGNER
You didn't tell him?
AMANDA
I've been waiting for the right
time.
MARK
Tell me what?
(then)
Amanda?
She looks away, searching for the words. Mark finds them for
her.
MARK
You're not coming back to
Community General, are you?
AMANDA
I've found a home in Virginia. I
really think I belong there.
Wagner steps up and puts his arm around her.
WAGNER
She's been trying to tell you for
days.
AMANDA
The work is rewarding, my house is
gorgeous, and CJ's making lots of
friends at his school. I can't
uproot him twice in one year.
(then)
It's just so hard, leaving you all
again.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 55.
82 CONTINUED: (2) 82
MARK
I guess I haven't made it any
easier for you.
AMANDA
I'd be hurt if you did.
She throws her arms around Mark and gives him a big hug.
That's when Steve, his arm in a sling, and Jesse come in.
STEVE
Good news, still no gangrene. I
guess Community General was right
to give Jesse back his job.
JESSE
You're just sucking up so I'll let
you in on my new betting system.
STEVE
I'm still stumped by the old one.
Whatever made you think a cowboy
could beat a Bengal tiger?
JESSE
You ever see a tiger with a lasso?
That's when Jesse notices Amanda wiping a small tear from the
corner of her eye. He sees the way Mark is looking at her, and
figures it out.
JESSE
You didn't start Amanda's going
away party without us?
MARK
You knew she was leaving?
JESSE
You didn't?
AMANDA
Some people are easier to say good-
bye to than others.
That's when Mark glances out towards
83 THE CORRIDOR - MARK'S POV 83
as a Nurse turns down the hall, giving just a glimpse of her
face.
"Obsession" Part Two 2/10/98 (GOLDENROD) 56.
84 BACK TO SCENE 84
Mark is suddenly troubled. Amanda doesn't notice.
AMANDA
(to Mark)
I made him promise not to tell
you. That way I figured he'd blab
in about three seconds, and I
wouldn't have --
MARK
Excuse me.
Mark pushes past them out of the doctors' lounge. The others
exchange a look.
STEVE
He never did like long good-byes.
And on their confusion:
85 INT. COMMUNITY GENERAL CORRIDOR - NIGHT 85
It's filled with NURSES, DOCTORS, and ORDERLIES pushing
gurneys. Mark works his way through the crowd, catching only
brief glimpses of the nurse, getting increasingly worried. He
makes it to the nurse's station and looks around -- where is
she? That's when he hears the DING of elevator doors and
whirls around to see
86 THE ELEVATOR 86
doors are closing slowly. And behind them, dressed in a
nurse's uniform, is Caitlin Sweeney. She gives Mark a broad
smile. And a wave good-bye.
87 BACK TO SCENE 87
Mark runs to the elevator and slams the button, but it's too
late to call it back. And then, Mark realizes what this means.
He smashes the glass on the fire alarm and pulls the lever. As
he runs back to the doctors' lounge, the alarm BLARES, and the
others come out of the lounge to meet him.
STEVE
What is it?
MARK
We have to get everyone out of
this hospital right now.
It barely takes them a second to understand. They take off
down the corridor, grabbing anyone they see, pushing them
towards the fire stairs.
(CONTINUED)
"Obsession" Part Two 2/10/98 (GOLDENROD) 57.
87 CONTINUED: 87
They're running down the corridor when AN EXPLOSION blows out
an EXAM ROOM behind them. They run towards us as ONE WALL
AFTER ANOTHER EXPLODES behind them, trying to outspeed a fiery
death when
88 EXT. COMMUNITY GENERAL - NIGHT (STOCK) 88
THE BUILDING EXPLODES.
And we super the words: TO BE CONTINUED.